Journal d'une femme de chambre

Adapted from the book, it is a movie that keeps the spirit of the era alive. Impeccably good acting. Every movie of Léa Seydoux, where everyone falls in love with her beauty, should be watched.

It makes me wonder how one can spoil a splendid story like this. Earlier adaptations have been able to show the misery, disgust, dreary situation and yet taken the audience with them, through to the end. Here a less than convincing Lea Seydoux is seemingly dragged through the plot. And the rest of the actors likewise act like having been left behind on the scene without much of an idea what they were actually supposed to do. The miserable, unloving, sordid state in that house is shown. Though, on top of this it is also boring. Bunuel - should we say: in a modern way? - gave the chamber maid the upper hand, resolve, determination, wit. A character and her development. In this movie nothing develops, the hero - so we learn in the beginning - already has a history of being rejected by her employers. While towards the end, she's still diddling with rejection of her behaviour.

Who the heck could have had the idea of doing this remake?

The newest and to my mind the best of the three talkie versions of this perennial: vibrant and private, both. A parisienne maidservant moves to the country to work and live in a village estate. Everyone likes her except the woman she works for and the estate caretaker. Through her time there her memories of past appointments play out for us to share. This is the only "diary" in the movie. Eventually the caretaker comes around and the two of them lay plans. This is also the earthiest of the three versions: prostitution, rape, murder, abortions all figure into the story in this our frank age.

The third version of Octave Mirbeau's novel and by far the weakest.Marion Cotillard was to play Célestine but she was eventually replaced by Léa Seydoux, whose inexpressive looks and listless acting do not help;and anyway she is no match for Jeanne Moreau ,the best Celestine ever,even though Luis Bunuel's story underwent some changes - when the master tackles a novel ,he integrates his obsessions ,and he makes it his own.

The movie suffers ,not only from Seydoux's monotonous portrayal,but also from a terribly desultory script (both Renoir's and Bunuel's efforts had firm screenplays.)

Let's put it straight:I did not expect much from a third version but I did watch it because Vincent Lindon is in it;unfortunately his part is reduced to a sex machine and he is not given a single chance to show his skills ;in Bunuel's version,Georges Géret made all his scenes count .

The cinematography is fine and the last pictures rather tasteful,but the movie will be quickly forgotten.

Lea Seydoux plays the chambermaid in this new version. The plot is different. In the Moreau film from the same book; she turns Joseph in for the murder and rape. Here Seydoux plans a robbery and getaway with Joseph. Moreau tries to catch Joseph, but he ends up owning a cafe in Cherbourg that he had planned with her. He's with a different woman smiling. Moreau marries the neighbor captain and is ordering him around. Seydoux states she has no power over her feelings for Joseph, and that she would do anything he wanted. This latest version has an antiquated take on the character. The father character is missing. The character of Claire is absent. We know of her murder when a round table of women discuss it. Moreau film shows Joseph going into the woods after Claire. Moreau knows and is fond of Claire. How can this screenplay cut Claire out? And the father? The husband is actively impregnating the cook, but he is not a murdering rapist. The flashback of Seydoux having sex with a young man dying of a pulmonary embolism at the moment of climax with her mouth filling with blood is a shocker. Another flashback shows her mistress's dildo in a locked red velvet jewel case that she unlocks and opens for authorities. These are two entirely different screenplays from the same book. Jeanne Moreau does no housework and presents a dignified well intentioned version of Celestine. Lea Seydoux works very hard doing everything, but her passion for Joseph controls her. Moreau is more cerebral. They are such entirely different films I think they stand apart and strong on their own different merits.